Wednesday, 5 February 2014

Summary - Hierarchy of Type and Information

The first thing I notice about the differences in
these two hierarchies is the huge change in position
of the big capital M, which I think shows how the
position on the page can massively affect when you
see something. I think this also shows how the more
important information on a page on an advert (i.e the 
body text), needs to be in big chunks to be noticed
over the large images and fancy titles.



I think these hierarchies show how the most vital
parts of information don't necessarily need to be the
ones that are noticed first to get their point across.
This is shown by the rise in placement of the Amazon
logo, once you know where it is, it keeps your attention,
after you've got bored of looking at the big title part that
is anyway.



This shows how the things that keep your eye might not
be necessarily useful, as this example shows. Using
bright colours needlessly can be detrimental to the page
layout in some cases.


In Further Detail

This shows how using a simple layout can be most
effective. The hierarchy of type for this page was the
same as the hierarchy of information. Also, the order
in which everything appears in the hierarchy is the
order in which they appeared in the magazine as well.


In Further Detail

This shows how harsh contrasts can grab your
attention quickly. What I notice is that in both
hierarchies, the red text on blue background is
difficult to take your eye away from. It shows how
you can use contrast to keep someones attention
on an important piece of information, as long as
you don't care how awful it looks.


In Further Detail

The main thing I took from these hierarchies wasn't
directly related to hierarchies, but more about how using
different typefaces can change the way you read text.
Initially the title read 'Is fancy dress sexist? Given that this
article was from Cosmo on Campus magazine, a 
predominantly female-read magazine, it could almost be
classed as subliminal messaging.


In Further Detail

This hierarchy doesn't really show much difference in
general, only how the length of a word affects the order
in which you see the words when they're placed directly
above each other.


In Further Detail

This shows the power colour can have on a layout. The red
circle was placed on the edge of the page, hence why it was
quite late being noticed. Yet when position wasn't a factor it
was the only thing that really keeps your attention.


In Further Detail, and Here

The above two hierarchies show the power the contrast
between black and white. The edge of my laptop screen
is black, hence why I probably didn't notice the black parts
of the website due to their placement around the edge of
the page. But like previously said, when placement is less
of an issue the contrast stands out more.


In Further Detail

In comparison to the last hierarchies, the darker bars have
text in them that's not very bold, and so the contrast is a lot
lower. This shows that using bars of colour isn't generally
enough to overpower well contrasted text.


In Further Detail

These hierarchies really confused my eyes. I think this shows
the effect of using too many strong colours in a layout can have.
I really wasn't sure where to look first on that webpage.



The BBC hierarchies are much clearer than the other websites
I looked at due to the lack of large amounts of colour. I still think
there's enough to keep you interested in the page though.


In Further Detail

The differences in these hierarchies mainly show that by placing
next to an image, you're more likely to notice the text than a larger
amount of text that appears blockier and more noticeable than the
smaller text on its own.



The above hierarchies show how overpowering the adverts can be
in newspapers. Also, by using a thin sans-serif font for the advert in
a place where it's predominantly serif fonts it makes the advert look
a lot more sophisticated.




In Further Detail, Here, and Here

Similar to the BBC Website, the above three hierarchies are very clear
in what the important bits of information are due to the cautious use of
colour. It also shows how big areas of boring text can be quite eye
catching purely due to their size. 

Monday, 3 February 2014

Secret 7 - Briefing and Exercise

Today we were briefed on the first brief for OUGD406, Design Practice 1, which is an entry for the Secret 7 competition. By this time I'd decided that the song I was going to design a sleeve for is Grounds For Divorce by Elbow. I decided this because after listening to the songs that I'd narrowed it down to (the ones by Elbow, Black Sabbath, Jake Bugg and Lorde) a few times, I decided that not only was Grounds For Divorce was the song that I liked the most, but also the song that I feel I could relate too most, which imagine could be quite important.


One of the mandatory requirements in the brief is a collection of 30 images as potential ideas for the album cover. I drew the above 4 spider diagrams to give me some ideas as to what I could draw for my images. My ideas all stem from the name of the band, the name of the song, or two of the quotes that stuck in my head most from the song, 'I'm working on a cocktail called grounds for divorce', and 'Someday we'll be drinking with the seldom seen kid', as these 4 seem appropriate things to base the potential concepts for my cover on.



Unfortunately my drawing isn't amazing, and some of the more appropriate words I came up with were more conceptual as apposed physical, which instantly makes the drawing part even harder for me. Fortunately the brief doesn't specify the quality the drawings need be, so I drew them in a way which I feel best summed up the word, weather it be visually or iconically.

Sunday, 2 February 2014

Studio Brief 2 - Does the Shade/Tint of a Colour effect It's Tone, or is Tone based solely on Hue?









Each hue has a variety of tints. Each tint is progressively lighter 
than the last as more white is added, this makes it more luminant.




The reverse is true for tints. Each tint is progressively darker due to
more black being added each time, making the shades less luminant.

From this we can conclude that the tint or shade of a colour affects its
luminance as opposed to it's hue or it's tone.


Tone is about how neutral the colour is. The tones of a colour start from
the purest, which is just the hue by itself, and get less and less pure as
more grey is added. The more grey is added, the more neutral the colour
becomes, and this makes for softer contrasts between colours as the
colour wheels below show.


Tone is different to saturation in that tone is how pure the colour is
based on how neutral/grey it is. Whereas saturation is based on how
pure a colour is in respect to its hue. Pure red is more saturated than
an orangey-red or a reddy-violet because it has a more defined point
on the colour wheel. It is generally quite difficult to tell how saturated
a colour is when it's by itself because of the subjective nature of colour.
When there are multiple different reds next to one another it is much
easier to spot which is the most saturated, as shown below.


The tone of a colour is heavily dependent on it's hue because some
colours are much brighter than others, as shown on the wheels below.



It is understandable why tone can be confused with tints and shades, 
because the tints and shades are making the hue more or less luminant 
and in doing so more or less bright. Essentially, tone is based on a
colours hue, but the exact value of the tone is decided by the tint or
shade of the variant of the hue. For example, if the yellow in the colour
wheel above had a stronger tint, it's counterpart colour on the tonal
colour wheel would be a more whiter grey, as the yellow would be
lighter. If the yellow had a shade, it's counterpart would be a darker
grey as the yellow would be darker.